Titlebook: Beckett, Deleuze and the Televisual Event; Peephole Art Colin Gardner Book 2012 Palgrave Macmillan, a division of Macmillan Publishers Limi

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注入

P. Cudek,J. W. Grzyma?a-Busse,Z. S. Hippeature talking heads severed from the rest of the human body set against black, featureless backgrounds which act as dark fields of obsessive memory and forgetting, both voluntary (.) and involuntary (. and .). Here past, present and future collide and intermingle in the iterative time of the actual filmic event we are watching.

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責(zé)任

Advances in Intelligent and Soft Computingrstness) that we discussed in the last chapter as a primordial zone of indetermination. ‘How can we rid ourselves of ourselves, and demolish ourselves? This is the astonishing attempt made by Beckett in his cinematographic work entitled ., with Buster Keaton’ (Deleuze, 1986, p. 66).

Nefarious

nitroglycerin

,Beyond Percept and Affect: Beckett’s , (1964) and Non-Human Becoming,rstness) that we discussed in the last chapter as a primordial zone of indetermination. ‘How can we rid ourselves of ourselves, and demolish ourselves? This is the astonishing attempt made by Beckett in his cinematographic work entitled ., with Buster Keaton’ (Deleuze, 1986, p. 66).

Arb853

刀鋒

Myosin

,Matter and Memory: The Image as Impersonal Process in , (1966), , (1977) and …,… (1977), as pure process. All three teleplays attempt to reconstruct memory through the telling of fictions — that is, through fabulations — as a means of overcoming the deadening effects of the past’s Oedipal sexual economy. By rejecting the Name of the Father and embracing the non-Oedipal oral mother, Bec